EVS XT3

EVS XT3

Hard disc based recorder for HD live slow motion with 3G/3D/1080p PAL/NTSC support.

Can be configured for 6,8 or 12 channel operation. Our 12 channel machines are 'channelmax' fitted with 10GB network ports, and work with software version 14.02 and above.

Fitted with 6x 900GB SAS raid system for increased bandwidth and storage.

AVC-intra, Apple, Avid and MPEG codecs with user selectable bitrates.

Expansion connector for additional external SAS raid arrays.

6 1080p/3D or 8 HD-SDI channels with up to 96 channels of embedded audio recording.

Supplied with two operator’s control panels and tablet with the latest Multicam software preloaded with previous versions. Built in multiviewer plus XNet and Gigabit networking, Sony Protocol and Split Audio software options.

Supplied preloaded with latest and legacy software versions.

Units with HD super motion also available for use with HDC-3300/2500 systems.

Hard disc based recorder for HD live slow motion with 3G/3D/1080p PAL/NTSC support.

Can be configured for 6,8 or 12 channel operation. Our 12 channel machines are 'channelmax' fitted with 10GB network ports, and work with software version 14.02 and above.

Fitted with 6x 900GB SAS raid system for increased bandwidth and storage.

AVC-intra, Apple, Avid and MPEG codecs with user selectable bitrates.

Expansion connector for additional external SAS raid arrays.

6 1080p/3D or 8 HD-SDI channels with up to 96 channels of embedded audio recording.

Supplied with two operator’s control panels and tablet with the latest Multicam software preloaded with previous versions. Built in multiviewer plus XNet and Gigabit networking, Sony Protocol and Split Audio software options.

Supplied preloaded with latest and legacy software versions.

Units with HD super motion also available for use with HDC-3300/2500 systems.

Gravity Media Group is set to upgrade its entire fleet of EVS XT servers to run the latest Multicam 16.00 operating system. This deal includes the update of multiple units to XT-VIA live production servers, adding to one of the largest arsenals of EVS servers in the world. The owner of worldwide production and broadcast services specialists Gearhouse Broadcast, Hyperactive Broadcast and Input Media, will also deploy the latest versions of the IPDirector and XTAccess live tools.

DALLAS COWBOYS GET CLOSER TO THE ACTION WITH UHD REPLAYS INSIDE AT AND T STADIUM

Posted: 10/08/2018

Ahead of the 2018 NFL season, AT&T Stadium – the home of The Dallas Cowboys – has installed three new XT4K live production servers from EVS, the leading provider of live production solutions. Sitting alongside several other EVS products already in place, the new servers have been implemented into one of the stadium’s three control rooms, which becomes the main replay hub during Cowboys home games. They will be used to create both HD- and UHD-resolution replays and as the main recording device for all events taking place inside the 100,000-person capacity venue.

Reporting directly to Presteigne CEO Mike Ransome, Atkinson is responsible for overseeing all engineering activities including quality control, peak performance assessment as well as the development of strategic technology investment initiatives and market force evaluations.

Tedial, the leading independent MAM technology solutions specialist and EVS, the technology leader for live production have announced a technology partnership that will create a bi-directional link between EVS live production asset management suite, IPDirector, and Tedials enterprise MAM system, Evolution.

Harmonic, the worldwide leader in video delivery infrastructure, and EVS, the leading provider of live video systems, today announced a new OEM partnership that simplifies storage deployments in professional media environments. EVS has adopted the Harmonic MediaGrid system as its new high-performance nearline storage solution, marketing it under the XStore brand. The new XStore storage solution increases flexibility and scalability for studios, broadcast centers and major broadcasting facilities via its "Grow-as-you-Go" architecture.

EVS, the leading provider of live production solutions, will be talking about 4K live production requirements at BVE 2016, as well as the latest channel max configurations for its live production servers. There will be three key demonstration areas running on its stand (J05), these will be¦

Unlimi-Tech Software, Inc., a pioneer in managed file transfers and the Emmy® Award winning creator of FileCatalyst, has announced that the leading provider of live production solutions, EVS, will integrate with FileCatalyst Direct to accelerate and support file exchanges between contribution networks.

Available since 2016, the Sony PWS-4500 is a solid-state UHD/HD live production server designed for use in applications such as sports, studio or stage events. The target applications are master recording and advanced replay operations for live production companies for whom the server's ability to record the output from high frame rate cameras and deliver easily controllable slow motion is a major asset. The PWS-4500 is already in use by many prestigious live production companies and broadcasters around the world.

The world of broadcasting is in constant flux, with undefined boundaries between broadcast, TV, film and interactive media. With a changing consumer demographic now a key influence on the industry, many companies no longer specialise in a single medium, but have had to become adaptable to deliver multiple services through a combination of media.

The Women’s Tennis Association (WTA) is the global leader in women’s professional sport with more than 2500 players representing nearly 100 nations competing for a record $146 million in prize money. The 2018 WTA competitive season includes 54 events and four Grand Slams in 30 countries. In 2017, the WTA was watched around the world by a total TV audience of 500 million – with host broadcast services provided by NEP UK.

At the time of writing, the summer World Cup is providing its usual challenge to camera crews trying to televise the bright sunlight of the stadium without losing detail in shaded areas such as the covered terraces. It is a perfect demonstration of the need for high dynamic range. Several broadcasters are experimentally covering this year's tournament in 4K HDR, including the BBC which is streaming dozens of matches via its iPlayer service. HDR is also accompanied by a wider colour space, meaning millions more colours can be displayed than previously. Yet another advance is the adoption of 50p delivery rather than traditional 50i.

It’s May, so it seems inevitable that this month’s column should be a bit of a reflection on NAB. And it will, in due course.
But first, some news which I think is interesting. Cisco, the IT giant, is selling off its video software solutions business. It is being bought by an as-yet unnamed new company, backed by venture capitalist Permira Funds.

With 15 halls and over 1600 exhibitors, there's little chance of seeing every stand at the IBC trade show - but this year I gave it a good try and racked up an impressive number of daily steps to prove it! Unlike most show visitors, however, I wasn't looking for the latest bit of tech or next product to purchase, instead I was focussed on how IBC exhibitors use stand design and trade show marketing techniques on the show floor to attract the attention of exhibition visitors.

As I emerge from the customary post-NAB haze and try to formulate a coherent analysis of the 2016 show, perhaps the most striking realisation is that despite pacing the halls for four long days, I barely scratched the surface. The scale of the event, much like Las Vegas itself, is simply extraordinary, with over 100,000 attendees and nearly 1900 exhibitors. Right from the first morning of the show, my social media feeds have been full of reviews of amazing products and technical advancements, many of which I just didnt get time to see. Here, however, are some highlights of the things I did manage to get to.

The fundamental change brought about by the delivery of video content via IP is perhaps the most significant development in the history of televised entertainment because it allows the viewer for the first time to shape the viewing experience. Time, in the sense of the linear delivery of channels, is dissolved, and possibly the concept of channels themselves will also dissolve. Viewers can store, cache and play back video when they want, and experience it at various grades of quality. In a sense the viewer can also be the curator of the service at the point of delivery.

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